Abstract
With the development of new technologies, audio-visual (AV) content creators are looking for more immersive experiences, so a greater involvement of the viewer with the action and the narrative occur. Based on this vision, virtual reality (VR) is increasingly considered a tempting option for the world of entertainment. VR 360º AV content is beginning to emerge, allowing greater immersion for the spectator. In the cinematic genre of suspense, VR 360º has high potential to provide a more impacting experience for the spectators. However, it is necessary to confirm whether this potential is true. In this sense, the study focused on the production of an AV content of suspense and its adaptation to three different formats (2D, 360º and VR 360º), with the objective of understanding the impact on the immersion of the spectators when they watch VR 360º, in comparison with the other formats. Three tests were performed in the laboratory, with sample of 36 participants in total. In order to understand the immersive differences, each test consisted of 12 participants, in which they all watched the same suspense content, an adaptation of The Tell-Tale Heart by Edgar Allen Poe, but in different formats. The results showed that the VR 360º format intensifies perceptual immersion but decreases narrative immersion, when compared to 2D and 360º formats. Also is shown that the fact that narrative immersion has decreased in this format is a consequence of the user being allowed a 360º stereoscopic view with the Head-Mounted Display (HMD).
Similar content being viewed by others
References
Anderson-Moore O (2016) Enter the new world of narrative VR production, from script to post. Retrieved March 20, 2018 from https://nofilmschool.com/2016/07/vr-narrative-production-from-script-to-post. Accessed 20 Feb 2020
Aylett R, Louchart S (2003) Towards a narrative theory of virtual reality. Virtual Reality 7:2–9. https://doi.org/10.1007/s10055-003-0114-9
Bindman SW, Castaneda LM, Scanlon M, Cechony A (2018) Am I a bunny? The impact of high and low immersion platforms and viewers’ perceptions of role on presence, narrative engagement, and empathy during an animated 360º video. In: Proceedings of the 2018 CHIC Conference on Human Factors in Computing Systems (CHI’ 18). Association for Cumputing Machinery: 1–11. https://doi.org/10.1145/3173574.3174031
Codispoti M, Cesarei A (2007) Arousal and attention: picture size and emotional reactions. Psychophysiology 44:680–686. https://doi.org/10.1111/j.1469-8986.2007.00545.x
Diemer J, Alpers GW, Peperkorn HM, Shiban Y, Mühlberger A (2015) The impact of perception and presence on emotional reactions: a review of research in virtual reality. Front Psychol 6(26). https://doi.org/10.3389/fpsyg.2015.00026
Fonseca D, Kraus M (2016) A comparison of head-mounted and hand-held displays for 360º videos with focus on attitude and behavior change. In: Proceedings of the 20th International Academic Mindtrek Conference (AcademicMindtrek’ 16). Association for Computing Machinery, New York, pp 287–296. https://doi.org/10.1145/2994310.2994334
Gödde M, Gabler F, Siegmund D, Braun A (2018) Cinematic narration in VR – rethinking film conventions for 360 degrees. In: Chen J, Fragomeni G (eds) Virtual, Augmented and Mixed Reality: Applications in Health, Cultural Heritage, and Industry. VAMR 2018. Lecture Notes in Computer Science (LNCS) 10910:184–201. https://doi.org/10.1007/978-3-319-91584-5_15
Gross JJ, Levenson RW (1995) Emotion elicitation using films. Cogn Emot 9:87–108. https://doi.org/10.1080/02699939508408966
Huang MP, Alessi NE (1999) Mental health implications for presence. Cyber Psychol Behav 2:15–18. https://doi.org/10.1089/cpb.1999.2.15
Kim A, Chang M, Choi Y, Jeon S, Lee K (2018) The effect of immersion on emotional responses to film viewing in a virtual environment. 2019 IEEE Conference on Virtual Reality and 3D User Interfaces (VR): 601–602. https://doi.org/10.1109/VR.2018.8446046
Kraakman N (2017) Cinematic VR crash course. Video. https://www.udemy.com/cinematic-vr-crash-course-produce-virtual-reality-films/learn/v4/t/lecture/3436460?start=0. Accessed 27 Feb 2020
Kurbatov V (2017) Draw sketches for virtual reality like a pro. https://medium.com/inborn-experience/vr-sketches-56599f99b357. Accessed 27 Feb 2020
Li BJ, Bailenson AP, Greenleaf WJ, Williams LM (2017) A public database of immersive VR videos with corresponding ratings of arousal, valence, and correlations between head movements and self-report measures. Front Psychol 8:2116. https://doi.org/10.3389/fpsyg.2017.02116
MacQuarrie A, Steed A (2017) Cinematic virtual reality: Evaluating the effect of display type on the viewing experience for panoramic. 2017 IEEE Virtual Reality (VR): 45–54. https://doi.org/10.1109/VR.2017.7892230
Marques T, Vairinhos M, Almeida P (2019) How VR 360º impacts the immersion of the viewer of suspense AV content. In: Proceedings of the 2019 ACM International Conference on Interactive Experiences for TV and Online Video (TVX ’19). Association for Computing Machinery, New York, pp 239–246. https://doi.org/10.1145/3317697.3325120
Milk C (2015) How Virtual Reality can create the ultimate empathy machine. Video. https://www.ted.com/talks/chris_milk_how_virtual_reality_can_create_the_ultimate_empathy_machine. Accessed 15 Mar 2020
Nogueira L (2010) Manuais de cinema II: géneros cinematográficos. Covilhã, Portugal
Passmore PJ, Glancy M, Philpot A, Roscoe A, Wood A, Fields B (2016) Effects of viewing condition on user experience of panoramic video. In Proceedings of the 26th International Conference on Artificial Reality and Telexistence and the 21st Eurographics Symposium on Virtual Environments (ICAT-EGVE ‘16). Eurographics Association, Goslar, pp 9–16. https://doi.org/10.2312/egve.20161428
Powell W, Garner TA, Shapiro S, Paul B (2017) Virtual reality in entertainment: the state of the industry. British Academy of Film and Television Arts (BAFTA). http://www.bafta.org/sites/default/files/uploads/vrpaperbaftasept2017.pdf. Accessed Feb 2020
Roth C, Koenitz H (2016) Evaluating the user experience of interactive digital narrative. In: Proceedings of the 1st International Workshop on Multimedia Alternate Realities – AltMM’16. ACM Press, New York, pp 31–36
Slater MD, Johnson BK, Cohen J, Comello MLG, Ewoldsen DR (2014) Temporarily expanding the boundaries of the self: motivations for entering the story world and implications for narrative effects. J Commun 64(3):439–455. https://doi.org/10.1111/jcom.12100
Swant M (2016) How Virtual reality is inspiring donors to dig deep for charitable causes. https://www.adweek.com/digital/how-virtual-reality-inspiring-donors-dig-deep-charitable-causes-171641/. Accessed 5 Mar 2020
Tse A, Jennett C, Moore J, Wason Z, Rigby J, Cox AL (2017) Was I there? Impact of platform and headphones on 360 video immersion. In: Proceedings of the 2017 CHI Conference Extended Abstracts on Human Factors in Computing Systems (CHI EA’ 17). Association for Computing Machinery: 2967–2974. https://doi.org/10.1145/3027063.3053225
Visch VT, Tan ES, Molenaar D (2010) The emotional and cognitive effect of immersion in film viewing. Cognit Emot 24:1439–1445. https://doi.org/10.1080/02699930903498186
Witmer BG, Singer MJ (1998) Measuring presence in virtual environments: a presence questionnaire. Presence 7(3):225–240. https://doi.org/10.1162/105474698565686
Author information
Authors and Affiliations
Corresponding author
Additional information
Publisher’s Note
Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.
Rights and permissions
About this article
Cite this article
Marques, T., Vairinhos, M. & Almeida, P. VR 360º and its impact on the immersion of viewers of suspense AV content. Multimed Tools Appl 80, 31021–31038 (2021). https://doi.org/10.1007/s11042-021-11067-9
Received:
Revised:
Accepted:
Published:
Issue Date:
DOI: https://doi.org/10.1007/s11042-021-11067-9